AN REVIEW OF THEATRE'S SERVICES IN THE PROMOTION OF URDU COUPLETS

Abstract

Doha is something like “Matla” –an opening couplet 0f a ghazal- characterized by spontaneity set in a particularly simplistic and pastoral life. Both of its lines rhyme with each other and they balance in weight. Doha enjoys a peculiar field of relevance. A definite form, specific inference, and dedicated language make integral parts of a Doha. This beautiful genre of literature flourished in the hands of religious enthusiasts like Sofis, Sunnats, and Sadhus. However, this progress of Doha is heavily indebted to an all-times-active institution of our society called theatre proper. Starting right from “Inder Saba” by Amanat to the works of Agha Hashar Kashmiri, we find indelible traces of Doha in these works. This article sifts out those traces of Doha in the works of our illustrious Dramatists. Besides a brief history of Urdu Theatre, this article will afford a short introduction to the great veterans whose works will be discussed here in Literature for Children.  It made the history of children’s literature.